With issue #2, it was clear that Biker Mice from Mars was a different kind of nostalgic experience. Yes, the creative team (writer Melissa Flores, artist Daniel Gete, colorist Alessandro Santoro, and letterer Taylor Esposito) were clearly cashing in on a resurgence of ‘90s faves. However, they were doing so with an earnestness and creative streak that made this more than a mere cash grab. You can, in fact, turn your childhood into commerce if it’s done by those who want to tell a direct but compelling story of alien mice.
And Biker Mice #3 doubles down on this retromania in some fresh, compelling ways.
In the first two issues, the Biker Mice (Modo, Throttle, and Vinnie) were dealing with the Plutarkian threat of weaponized volcanoes destroying major cities. In this issue, that ploy is taken up a notch with the introduction of an old character from the cartoon, Hard Rock. On the one hand, the intro of an axe-gun-guitar-wielding fella may be retro overkill, but it also amps up the weirdness factor in a way that feels exciting and still true to the cartoon’s essence (and without feeling like the comics are a direct continuation). Especially since Hard Rock’s intro is tied to the volcano scheme, and that’s markedly different from his efforts in the cartoon.
I think it shows a commitment by the creators to push this material in new directions, and to use it to tell their own story and make use of the inherent familiarity in a way that’s once again not just a cheap gimmick. It’s playing in this sandbox with gusto.
Variant cover by Juan José Ryp. Courtesy of Oni Press.
Still, if you’re familiar enough with the cartoon, you’ll know Hard Rock’s arc of development and the role he eventually plays in that series. I hope we get a similar arc here if only because having more diverse character paths and groupings will make this book feel more textured and not just about mouse versus everyone else. (That latter aspect is huge because Biker Mice should feel more cosmic in its scope and scale if it remains especially rich and inviting.)
Plus, given the role Hard Rock plays in the ongoing tragedy, his shifting morality or allegiances could be even more compelling given how serious and tragic these attacks are in making Biker Mice exude proper odds.
But while Hard Rock feels like a breath of fresh air for Biker Mice (the right developments so early on are huge for audience immersion), it only works ‘cause of everything else. Which is to say, what’s been effective so far continues to develop just as we’d want, and then some.
As more cities on Mars are open to attack, we get a continuing tragedy that builds and fosters massive emotional and logistical stakes for everyone. The action remains as sharp as ever; all this desert bike action is a prime place for the art team to give us bonkers set pieces that pluck the part of my brain where old Saturday morning cartoons are stored (but also still feels quite fresh). Modo, Throttle, and Vinnie even get a chance to further develop their wit, charm, and compassion (all while using puns!)
Variant cover by Ken Marion. Courtesy of Oni Press.
Plus, we get some development into the mouse who was kidnapped by the Plutarkians, and it’s nice that she’s a real character and not some gimmick. These upsides don’t just make for an entertaining story; they continue to demonstrate a deliberate attempt by the creators to develop this world and its inhabitants in ways that are subtle but memorable, direct but impactful, and always full of universality without feeling overly vague.
Now, is everything just as effective across Biker Mice #3? No, as there’s some aspects I didn’t like and/or felt concerned about even at this point in the run. That includes the continued development (or lack thereof?) regarding the Plutarkians and how they often feel like underwhelming gimmicks. (Even bringing in the outsider Hard Rock feels like a recognition of this shortcoming.)
Plus, Stoker’s role continues to puzzle me: He’s felt like he could be the unofficial 4th Biker Mice (at least in this canon), but as the ending of this issue further demonstrates, he may be somehow oppose the trio in ways that prove irksome or detrimental. These aspects don’t exactly ruin the book, but they do prove that not every element has similarly snapped into place. This story is an imperfect process that’s going to take ample space and time to truly develop.
And I genuinely hope that Biker Mice gets all the room the book needs to truly flourish. Is some of that just because nostalgia hits so darn good? Sure – to deny it feels disrespectful to this book and its core mission. But it’s mostly because with enough issues under its belt, Biker Mice could be this super fun, genuinely moving book about community, helping others, and what happens when you ignore those elements instead.
The drive’s been pretty smooth so far, and I have every reason to believe that the Biker Mice are still revving their engines for the start of something truly badass.
You must be logged in to post a comment.